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BUON FRESCO

- Materials Fresco Pigments - Base List

- Fresco Tools

- Studio Setup
"The Best Fresco Pigments are
- Fresco Cartoon the Natural Earth and Mineral
- Color Studies Pigments.
- Lime Putty
View the base list of pigments
- Fresco Plaster
for fresco painting with their
- Fresco Tiles corresponding descriptions
- Fresco Pigments and use in fresco as well as
the historic fresco pigments
Fresco Workshops
list".
Fresco Glossary

In fresco painting color is mainly representational, tones and shades are highly
dependant on the surrounding color and value underpainting. A usual fresco palette
is not really limited but minimized for efficiency. In the beginning I would suggest
using just a basic set of fresco pigments with 12 or so natural colors such as the list
below:
 Fresco Pigments Base Set swatches painted on wet fresco tile - photographed fully dry.

YELLOW OCHRE - (clay, ferric oxides) a hydrated iron oxide, also called Gold ochre.
Ochres are among the earliest pigments used by people. The name Ochre is of Greek
origin, ochres are made from naturally tinted clay containing mineral oxides. It is
used as an overall yellow color in fresco painting.

RAW SIENNA - (clay, ferric oxides) a chemical cousin of Ochre, it is of the earliest
pigments used by mankind since cave paintings. Name comes from the notable
Renaissance mining location near Siena, Italy. Sienna has a slightly darker, reacher
reddish/brownish tone than ochre, but not as red as red ochre or red iron oxide
and not as brown as raw umber. Transparently layered with yellow ochre produces
interesting textural tones.

BURNT SIENNA - (clay, ferric oxides) formed by burning raw sienna. A very
versatile color, especially for the flesh tones and when a warm red undertone is
needed.

WHITE EARTH - (clay, ferric oxides) a delicate light color, used as additive to other
colors to produce a softer, pastel like paint tones as well as in flesh tones as an
alternative to or in combination with Bianco di San Giovanni (Lime White). On its
own white earth is very good for rendering/toning trompe loeil plasterwork.

VERDACCIO - (clay, ferric oxides) a dark green semi transparent earth color, a
composite pigment - the mixture of yellow ochre and black iron oxide or mars
black. Verdaccio is a foundational color for the value range development
(underpainting). It is neither warm or cold, color tones applied over absorb the value
without changing corresponding properties. Often architectural details in frescoes are
left in Verdaccio without any additional color layers.

RAW UMBER - (clay, ferric oxides, manganese oxides) a brown color with a various
degree of gray - greenish hue. Produces soft and colder shadows. In combination
with Ultramarine and other Blues (layered and mixed-in) gives soft, grayish more
transparent shades of black with lesser contrast then Burnt Umber - Blue
combinations.

BURNT UMBER - (clay, ferric oxides, manganese oxides) a dark warm brown color
with a degree of reddish hue. Produces reach, contrast shadows. In combination
with Ultramarine and other Blues (layered and mixed-in) gives deep rather opaque
shades of black. Main color for contrast shadow accents, foreground shadow tones
and hair.

CHROMIUM OXIDE GREEN - (hydrated chromium oxide, eskolaite) a bright and

more opaque green (compared to Terra Verde - Green Earth) of a clear green tone,
more vibrant, blueish shade is known as Viridian.

RED IRON OXIDE - (iron oxide, hematite) a manmade version of is known as Mars
Red. An overall rusty red color as it is transparent washes give cold, purplish hue as
opposed to warm reddish undertone of Burnt Sienna. It is used in preparation of
flesh tones, mixed with white it gives a cooler pinkish undertone. Traditional
Cinabrese (ital) is a composite pigment, a mixture of Lime White and Red Iron
Oxide. For large frescoes Red Oxide and Red Ochre is also used to create Sinopia
praparatory painting on the Arriccio (Float Coat) plaster coat.

VIOLET IRON OXIDE - (iron oxide, hematite) a manmade version of Violet Iron
Oxide is known as Mars Red (used for this tutorial). A rich dark brownish red with
violet undertone, a deep opaque color used as it is as well as for the flesh tones -
mixed with white produces violet pinkish tones.

ULTRAMARINE BLUE - (double silicate of aluminum and sodium and sulfates) - a

manmade version of natural component of semi-precious stone Lapis Lazuli. Used as
blue color as well as, in combination with Raw or Burnt Umbers, to achieve deep
black of different shades for shadows

This is the base list of fresco pigments , you can have as many pigments of different
shades as you want and need for different frescoes, just keep in mind that you
always need to simplify your palette for efficiency.

Copyright 2005++ iLia Anossov (fresco) & Fresco School

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